Shakespeare

Papers
(The TQCC of Shakespeare is 0. The table below lists those papers that are above that threshold based on CrossRef citation counts [max. 250 papers]. The publications cover those that have been published in the past four years, i.e., from 2021-04-01 to 2025-04-01.)
ArticleCitations
Review of Shakespeare’s The Winter’s Tale (Directed by Erica Whyman for the Royal Shakespeare Company), BBC Four, 25 April 20211
Our Discontents: RD3RD and the Theatre of Cruelty1
Othello and the ‘Turbanned Turk’: Rereading Othello’s Death in Light of Mosaic Allusion1
Editing Arden: The Dramatis Personae List in As You Like It1
Review of Shakespeare's Macbeth (Directed by Max Webster) at the Donmar Warehouse, London, 2 Jan 2024 and Shakespeare's Macbeth (Directed 1
Dedication1
Notes on the Couplet in the Sonnet1
Review of Ben Jonson’s The Alchemist, Adapted by Jeffrey Hatcher (Directed by Jesse Berger for the Red Bull Theater) at New World Stages in New York City, Streamed Digitally, 5 February 20221
Close Reading: Reopening the Endings of Shakespeare's Sonnets 91 and 921
Thomas Kyd: Two New Books1
Review of Shakespeare’s As You Like It (Directed by Ellen McDougall) at Shakespeare’s Globe, London, 8 September 20231
Dogs Urinating on the 1623 Folio: The Jaggard Press’s Dionysus Ornament in Context1
Dreaming of Serpents and Asses: Shakespeare’s Ovidian Animal Dreams inA Midsummer Night’s Dream1
Review of Shakespeare’s Measure for Measure (Directed by Blanche McIntyre for Shakespeare’s Globe) at the Sam Wanamaker Playhouse, London, 10 December 20211
Review of Gareth Armstrong’s Shylock (Directed by Frank Barrie for Gareth Armstrong) at the Workshop Theatre, Leeds, 9 February 20241
Review of Shakespeare’s King Henry VI, Part II (Adapted and Directed by Danielle Rosvally for the University at Buffalo Department of Theatre and Dance) at the Universit1
Shakespeare, Marston, and Getting to Moral Clarity through Comedy0
Review of Shakespeare’s King Lear (Directed by Simon Godwin for the Shakespeare Theatre Company) at the Klein Theatre, Washington, DC, 15 March 20230
Review of Elizabeth and Mary: Royal Cousins, Rival Queens (Exhibition), British Library, London, UK, 10 October 2021–20 February 20220
‘A Chancellor’s Foot’: Certifying Justice with Fools’ Ballads in Seventeenth-Century England0
Indict the Author of Affection: Affectation and Catachresis in Hamlet0
Review of Robert Icke’s Player Kings , an Adaptation of Shakespeare’s 1 and 2 Henry IV (Directed by Robert Icke) at the Noël Coward Theatr0
Review of William Shakespeare's All's Well That Ends Well (Directed by Blanche McIntyre for the Royal Shakespeare Company) at the Royal Shakespeare Theatre, Stratford-upon-Avon, 31 August 20220
Review of Arden of Faversham (Directed by Jesse Berger for the Red Bull Theater) and Francis Beaumont’s The Knight of the Burning Pestle (0
Review of Charlie Dupré's Compositor E (Directed by Amie Burns Walker) at the Network Theatre, London, 16 February 20230
Review of William Shakespeare’s The Tempest (Directed by Elizabeth Freestone for the Royal Shakespeare Company) at the Royal Shakespeare Theatre, Stratford-upon-Avon, 8 0
Introduction: Properties of Matter and Performance0
Review of Thomas Dekker, John Ford, and William Rowley’s The Witch of Edmonton (Adapted and Directed by Laura Jay Wright for Creation Theatre) Online, 9 March 20220
Adapting the Merchant of Venice for Radio: An Interview with Emma Harding, Adapter and Director for BBC Radio Drama0
Review of Shakespeare’s Richard III (Directed by Oisín Kearney) at the Lyric Theatre, Belfast, 3 November 20240
‘With his Head Broke’: The Occupational Hazards of Shakespeare’s Schoolmasters0
On the Threshold: Hospitality in Shakespeare’s Drama0
A “True Chronicle Historie” of Britain:King Learand Its Early Catholic Audiences0
Review of Shakespeare’s Much Ado About Nothing (Directed by Roy Alexander Weise for the Royal Shakespeare Company) at the Royal Shakespeare Theatre, Stratford-upon-Avon, 4 March 20220
Review of Shakespeare's The Comedy of Errors (Directed by Sean Holmes) and Macbeth (Directed by Abigail Graham) at Shakespeare's Globe The0
Gender Reversals in Contemporary Shakespeare Adaptations: The Case of the National Theatre at Home During the Pandemic0
Rhetorical Identification in Shakespeare’s Roman Republics0
Review of Thomas Middleton’s The Revenger’s Tragedy, Titled La Tragedia del Vendicatore (Directed by Declan Donnellan for Cheek by Jowl) at Piccolo Teatro di Milano, January 2021. Availa0
‘A Woman’s Story at a Winter’s Fire’: Dramatic Text as Visual Imagery in Vishal Bhardwaj’s Feminised Variations on Macbeth , Othello , and0
The Folgers’ First Folios0
Review of Shakespeare’s Merry Wives (Adapted by Jocelyn Bioh, Directed by Saheem Ali for Shakespeare in the Park) at the Delacorte Theater, New York City, 15 September 20210
Review of The Duchess of Malfi (Directed by Laura Wright and Natasha Rickman for Creation Theatre), Performed via Zoom, 18 March 20210
Review of William Shakespeare’s Love’s Labour’s Lost (Directed by Emily Burns for the Royal Shakespeare Company) at the Royal Shakespeare Theatre, Stratford-upon-Avon, 10
Counting to One: ‘One Flesh’ Marriage in Shakespeare and Fletcher’s The Two Noble Kinsmen0
Paradise Now: Desiring English Eden in Shakespearean Gardens and Early Modern Horticultural Books0
Waugh’s Green World: Reconceptualising The Ordeal of Gilbert Pinfold as a Transcoded Production of King Lear0
Review of Shakespeare’s The Merchant of Venice (Directed by Arin Arbus for the Theatre for a New Audience and the Shakespeare Theatre Company) at the Michael R. Klein Theatre at the Lansburgh, 0
Review of Shakespeare’s Merry Wives of Windsor (Directed by Blanche McIntyre) at The Royal Shakespeare Theatre, 18 and 20 July 2024; and As You Like It0
Review of Shakespeare and Wilkins’ Pericles (Directed by Paul Burbridge), York International Shakespeare Festival, Online Performance, 5–6 June; Catch-up Access 6 June–6 July, Reviewed 19 June 0
Industrial Nature: The Unrealised King Lear of Norman Bel Geddes0
Review of Shakespeare’s Henry V (Directed by Max Webster for the Donmar Warehouse), Streamed to Cinemas by NT Live, 21 April 20220
Untimely Breathings inThe Rape of Lucrece0
Inessential Shakespeare: Contingency, Necessity, and Marginalization in Early Modern Drama0
Review of Shakespeare’s The Tempest (Directed by Jamie Lloyd) at the Theatre Royal, Drury Lane, 14 December 20240
Shakespeare in the World: Cross-Cultural Adaptation in Europe and Colonial India, 1850–19000
Bound by Non-action: The Art of Not Doing in The Banquet and Prince of the Himalayas0
Shakespeare’s Phenomenology of Time inMacbeth0
Antonio’s Sad Flesh0
Steel Caliban: A New Etymological and Alchemical Inquiry into The Tempest0
Review of Shakespeare’s Romeo and Juliet (Directed by José Zayas for the American Shakespeare Center) at the Blackfriars Playhouse, Staunton, Virginia, 25 February 20220
Introduction: To the Reader; or, What’s in a Folio?0
Review of Webster’s The Duchess of Malfi (Directed by Rachel Bagshaw) at the Sam Wanamaker Playhouse, London, 20 March 20240
An Early History of the Shakespeare Sermon (1769–1830): From Garrick’s Jubilee to the Reverend Arthur Savage Wade’s Stratford Festival Shakespeare Sermons0
‘I Will Through and Through / Cleanse the Foul Body of Th’infected World, / If They Will Patiently Receive My Medicine’ (As You Like It ) : 0
Review of Thomas Middleton’s Michaelmas Term (Directed by Perry Mills for Edward’s Boys) at the Inner Temple, London, 17 March 20230
Performing Babies and the Properties of Race and Ethnicity0
Shakespearean Arrivals: The Birth of Character Shakespearean Arrivals: The Birth of Character , by Nicholas Luke, Cambridge, Cambridge University Press, 2018, vi + 253 p0
Close Reading: 1 Henry VI, 1.1.8-160
The Nose Plays: Nasiform Negotiations at Newington Butts0
Giles, John, and Will: The Fletchers and Shakespeare in Bishopsgate Street, London, 15960
Macbeth and the Nine Herbs Charm : A Genealogy of the Grotesque0
Review of Shakespeare’s As You Like It (Directed by Laurie Sansom for the Northern Broadsides Theatre Company) at the New Vic Theatre, Staffordshire, 10 February 20220
Review of Shakespeare’s Romeo and Juliet , Adapted by Sarah Gobran and Matt Pinches (Directed by Matt Pinches for Guildford Shakespeare Company) at Guildford High Street0
The Duke of Gloucester’s Sword: Prosthetic Props in the Repertory of Edmund Kean0
Review of Shakespeare’s Romeo and Juliet (Directed by Natasha Rickman for Creation Theatre), Online, 26 May 20210
Marina’s School: Education and Vulnerability in Pericles0
Periclesand the Secret0
Polychronic Actants: Modern Promptbooks as Anticipated Acts, Unanticipated Acts, and Ideal Assemblages0
Reworking Shakespeare: Romeo and Juliet to Maro Charithra0
‘Not on his Picture, but his Booke’: Shakespeare’s First Folio and Practices of Collection0
Accruing Gravitas, or Why There Isn’t a Latino King Lear (Yet)0
Shakespeare and Virtue: A Handbook0
‘Poor Tom O’Bedlam’: Identifying the Subsistence Migrants of Early Modern England in Shakespeare’s King Lear0
Death as Preservation in The Winter’s Tale0
Introduction, or, Is Blank Verse Black?0
Review of Shakespeare’s Julius Caesar (Directed by Diane Page) at Shakespeare’s Globe, London, 6 September 20220
‘Dark Deeds Darkly Answered’ – The Political Economy of Prodigality inMeasure for Measure0
Taking Shakespeare in Stride: Lady Macbeth at the American Repertory Theatre0
Review of Bae Sam-sik’s Changgeuk Lear (Directed by Jung Young-doo for the National Changgeuk Company of Korea) National Theater of Korea, Seoul, 13 and 30 March 20220
Shakespeare and the Denial of Territory: Banishment, Abuse of Power and Strategies of Resistance0
‘This it is when men are ruled by women’: The Ableists’ Curse and the RSC’s 2022 production of Richard III (directed by Gregory Doran) at the Royal Shakespeare Theatre, Stratford-upon-Avon, 23 0
Richard III’s Bodies from Medieval England to Modernity: Shakespeare and Disability History Richard III’s Bodies from Medieval England to Modernity: Shakespeare and Disability History0
Review of Shakespeare’s Richard III (Directed by Adjoa Andoh) at Liverpool Playhouse Theatre, 13 April 20230
Sound Logic: Verse Form, Musical Paradox, andThe Phoenix and the Turtle0
Shakespeare and Accentism0
Review of Hannah Khalil’s Adaptation of Shakespeare and Fletcher’s Henry VIII (Directed by Amy Hodge) at Shakespeare’s Globe, London, 16 September 20220
Playbooks and their Readers in Early Modern England0
Review of Emma Frankland and Subira Joy’s Adaptation of John Lyly’sGalatea(Directed by Emma Frankland for Brighton Festival) at Adur Recreation Ground, Shoreham-by-Sea, 17 May 20230
Review of Shakespeare’s Cymbeline (Directed by Gregory Doran for the Royal Shakespeare Company) at the Royal Shakespeare Theatre, Stratford-upon-Avon, 23 May 20230
Hamlet’s Choice: Religion and Resistance in Shakespeare’s Revenge Tragedies Hamlet’s Choice: Religion and Resistance in Shakespeare’s Revenge Tragedies , by Peter Lake, 0
Shakespeare for Everyone? History, Dramaturgy, and the Black Flesh as Prop in Transracial Shakespeare0
Review of Shakespeare’s Henry VI: Rebellion and Henry VI: War of the Roses (Directed by Owen Horsley for the Royal Shakespeare Company) at the Royal Shakespeare Theatre, 12 May 2022 and 0
Jewish Cultural Traditions within a Modernising Early Soviet Framework: Y. Goldberg's 1935 Yiddish Othello0
Hamlet and Lucretian Anxiety0
Biographical Reconfigurations of Shakespeare’sSonnets: John Benson, Charles Gildon, and the Catullan Epigram0
‘The Tale of Tereus’ and the Story of Procne: Innogen’s Bedside Reading0
‘Between the Red Rose and the White’: Staging Vegetal Materiality in the First Tetralogy0
Love Notes and Sonnets in Early Modern Tragedy0
Hamlet’s Melancholic Imagination0
Review of Pippa Hill’sDream(Directed by Robin McNicholas for the Royal Shakespeare Company) at Portsmouth Guildhall. Performed and Streamed Online, 12–20 March 20210
Hamlet at the Himalayan Border: Frontier Imaginaries in Hu Xuehua’s Prince of the Himalayas and Vishal Bhardwaj’s Haider0
The Merchant of Veniceand the Demise of Hospitality0
John Caird on Shakespeare: An Interview0
Review of Shakespeare’s Twelfth Night (Directed by Sean Holmes) at Shakespeare’s Globe, London, 6 and 7 August 20210
Uncanny Fidelity: Recognizing Shakespeare in Twenty-First-Century Film and Television0
Review of Shakespeare’s Women (Directed by Ben Gould for Commedia of Errors) at the Studio Theatre, Grand Opera House, 9 November 2024 (Afternoon Performance)0
The “True King’s Queen”: Unlocking the Performance Potential of the Queen in Shakespeare’sRichard II0
Review of Shakespeare’s Much Ado About Nothing (Directed by Simon Godwin) at the Lyttleton (National Theatre), London, 10 and 30 August 20220
Yiddish Shakespeare: Romeo and Juliet, Translation and American Independent Cinema0
Review of Hamlet , by William Shakespeare (Directed by Selina Cadell for Westbeth Entertainment, Mick Perrin Worldwide and John Gore) at the Greenwich House Theater in N0
Correction0
Review of Shakespeare’s All’s Well That Ends Well (Directed by Chelsea Walker) at the Sam Wanamaker Playhouse, 17 December 2024 (matinée)0
Review of Shakespeare's A Midsummer Night’s Dream (Directed by Jimmy Fay) at the Lyric Theatre (Outdoors), Belfast, 6 July 2024 (Afternoon Performance)0
Review of Shakespeare’s Richard III (Directed by Elle While) at Shakespeare’s Globe, London, 3 July 20240
‘On Pleasures Past, and Dangers to Ensue’: Site-Specific Violence and the Post-Renovation Rose Repertory0
Shakespeare, the Sea and the Stage0
Shakespeare on the Ecological Surface0
Review of John Fletcher’s The Faithful Shepherdess (Directed by Lizzie Conrad Hughes for Shake-Scene Shakespeare), Zoom, 26 November 20230
Knowing through Nursing: Edgar and the Exercise of Care in King Lear0
Shakespeare’s tercentenary: staging nations and performing identities in 19160
Inessential Anti-Blackness: Re-Imagining a Post-Lockdown Tempest0
Shakespeare and the Elizabethan Reformation: Literary Negotiation of Religious Difference Shakespeare and the Elizabethan Reformation: Literary Negotiation of Religious Difference 0
All’s Well That Ends Well ’s Paroles and the Bisexual Miles Gloriosus : Early Modern Expectations, Modern Stagings0
Mothers, Motherhood and the Feminine in Fiennes’s Coriolanus0
Review of Marlowe’s Doctor Faustus (Directed by Ricky Dukes for the Lazarus Theatre Company) at the Southwark Playhouse, London, 3 September 20220
Memorialising Shakespeare: commemoration and collective identity, 1916–20160
‘And All Is Semblative a Woman’s Part’: Japan’s All-Male As You Like It0
The Forensic Invention of Leontes’ ‘Affection!’ in The Winter’s Tale0
Shakespeare is Not Pie: Contingencies of Labour, Marginalisation, and Early Modern Studies0
Knowing What we are Making: Props, Scholarship, and the Pandemic0
Shakespeare’s Ruins and Myth of Rome0
‘I Have Immortal Longings in Me’: Shakespeare in the Lives of Fictional Immortals0
From Theory to Action: Staging a Feminist Production of The Taming of the Shrew0
Bandwagon of Brothers: Self-Propaganda in the St Crispin’s Day Speech0
Review of William Shakespeare’s Julius Caesar (Directed by Atri Banerjee for the Royal Shakespeare Company) at the Royal Shakespeare Theatre, Stratford-upon-Avon, 29 Mar0
Shakespeare and the New Palace of Westminster (1834–1927)0
The Dramaturgy of Ophelia’s Bouquet0
Re-localising Shakespeare in Pakistan: A Post-Dramatic Appropriation of Shakespeare’s The Taming of the Shrew as Illaj-e-Zid-Dastiyab-Hey0
Quickly’s Rawhide Notebook: Desentimentalising the Crux atHenry V, 2.3.15-160
Exploring Contemporary Jewish Identity and Anti-Semitism via Metalepsis in Howard Jacobson’sShylock Is My Name(2016)0
Shakespeare, Hogarth and Garrick: plays, painting and performance0
Afterword0
Editing Cruxes in Shakespeare’s Midsummer Night’s Dream : Folio, Quarto, Performance0
Fathoming the Deep in English Renaissance Tragedy: Horror, Mystery, and the Oceanic Sublime0
Review of Shakespeare’s Romeo and Juliet (Directed by Jamie Lloyd for the Jamie Lloyd Company) at the Duke of York’s Theatre, 18 May 20240
Malvolio Within to Malvolia Out: Escaping Heteronormativity inTwelfth Night0
Shakespeare and Lost Plays: Reimagining Drama in Early Modern England0
Shakespeare in Action0
2 Henry VI and the Tomb of Duke Humphrey0
Review of Shakespeare’sRichard II(Directed by Adjoa Andoh and Lynette Linton) at Shakespeare’s Globe, Sam Wanamaker Playhouse, London, 2019, Broadcast by Swinging the Lens on YouTube April 20210
Staging Female Characters in Shakespeare’s English History Plays0
Digitally Mediated Shakespeare in South Korea0
Shakespeare and Morality0
Review of William Shakespeare’s A Midsummer Night’s Dream (Directed by Elle While for Shakespeare’s Globe), 31 July 20230
Disabled for England: Crip/Queer Veterans in Henry V0
Training Shakespeare's Yes in the Era of No0
Shakespeare’s Art of Entanglement:The Tempest’s Tragicomic Dramaturgy of Knotting and Untying0
‘A Whiff of Jewish Pronunciation’ – Listening to Shylock in Germany0
Review of Shakespeare's Much Ado About Nothing (Directed by Robert Hastie for Ramps on the Moon) at the Crucible, Sheffield Theatres, 20 September 20220
Review of Shakespeare’s The Two Gentlemen of Verona (Directed by Lee Dae-ung for Yohangza Theatre Company) at the Daehakro Arts Theatre, Seoul, South Korea, 26 May 20220
Interview with Aparna Sen0
Trees, Ballads, Iconoclasm and the Garden in Shakespeare’sRichard II0
Review of Shakespeare’s Othello (Directed by Ola Ince for Shakespeare’s Globe) at the Sam Wanamaker Playhouse, London, 8 February 20240
Illuminating the Motives of Racism When Adapting and DirectingThe Merchant of Venice0
Shakespeare in Activism: Podcasts, Processions and the Public’s Richard II0
Review of Shakespeare’s Hamlet (Directed by Sean Holmes) at the Sam Wanamaker Playhouse, 3 March 20220
Introduction: Shakespeare and the Jews0
Shakespearean Echolalia: Autism and Versification inKing John0
‘Wilt Break My Heart?’ Takotsubo Syndrome and Shakespeare’s Discourse of Heartbreak in Antony and Cleopatra and King Lear0
Shakespeare and Gardens: Special Issue Introduction0
Close Reading: A Couplet from Love’s Labour’s Lost0
Romancing the Tamil Shrews: Intertextuality and Inter-Caste Marriage in Arivaali0
Santiago : Making Bilingual Shakespeare Count0
‘Fears and Scruples Shake Us’: Ecological and Perceptual Instability in Macbeth0
One Book to Rule Them All: ‘The King James Version’ of Shakespeare’s Plays0
Disrupted Dialogues: Exploring Misgendered Diagnoses and Experiences of Melancholia and Depression Through the Lens of Pericles and Contemporary Psychiatric Practice0
Horatio in Pieces: Or, How to Deal with Ghosts0
Review of Shakespeare’s Romeo and Juliet (Directed by Ola Ince), Shakespeare’s Globe, London, 15 October 20210
Shakespeare and the Law0
Review of Titus Andronicus (Directed by Jude Christian for Shakespeare’s Globe) at the Sam Wanamaker Playhouse, London, 18 February 20230
Review of Shakespeare’s Othello (Directed by Tim Carroll for the Royal Shakespeare Company) at the Royal Shakespeare Theatre, Stratford-upon-Avon, Saturday 9th November 0
Close Reading: The Inveighing, Envying Martius in Coriolanus 3.3.940
Angry Jewish Resistance. Interpreting Shylock’s Rage0
Justice or Judgment? On Adaptations of Macbeth in Chinese Traditional Opera0
Metrical Variation and Metrical Emendation in Q1Hamlet0
Just How Remarkable was the ‘Jealous Moor’? Othello , Jealousy and Early Modern Racial Stereotypes0
Shakespeare’s Virtuous Theatre: Power, Capacity, and the Good0
‘[S]he-Mercury’: Broadening Female Neighbourly Networks in The Merry Wives of Windsor0
Reading Robert Greene: Recovering Shakespeare’s Rival0
Review of Shakespeare’s King Lear (Directed by Helena Kaut-Howson) at Shakespeare’s Globe, London, 1 June and 24 July 20220
Shakespeare’s Botanical Imagination0
Review of William Shakespeare’s Macbeth (Directed by Wils Wilson for the Royal Shakespeare Company) at the Royal Shakespeare Theatre, Stratford-upon-Avon, 20 September 20
Shakespeare and Digital Performance in Practice0
Shakespeare: The Man Who Pays the Rent0
Which Is the ‘Jew / That Shakespeare Drew’? Shylock’s Afterlife in Mere Reading and Maverick Stagings0
Inimitable Rarities?: Feather Costumes, Indigenous Artistic Labour and Early Modern English Theatre History0
Imagining the Soul in Premodern Literature Imagining the Soul in Premodern Literature , by Abe Davies, Cham, Palgrave Macmillan, 2021, Early Modern Literature in History0
Metre, Rhythm, and Sounds of Silence in Shakespeare0
Reviews of Shakespeare’s Othello (Directed by Emma Harding), BBC Radio 3, 19 April 2020 and Henry IV, Part 1 (Directed by Sally Avens), BBC Radio 3, 26 April 20200
The First Quarto ofHamletand its Performance in London, 2010–110
Shakespeare Grafting0
Shakespeare, Neurological Identity, and Early Modern Neurodiversity Studies: A Neurological Approach to ‘Character’0
The End(s) of The Tempest in Post-apartheid South Africa0
‘What els do Maskes, but Maskers Show’: Masked Ladies in Shakespeare’s Comedies0
Ghosts, Holes, Rips and Scrapes: Shakespeare in 1619, Bibliography in the Longue Durée0
Celebrity Plays and Embodied Fidelity0
‘Shakespeare Never Said That’: The Internet’s Thousand Hamlets0
Close Reading: Romeo and Juliet 3.5.9–100
Review of Iru , Motion Picture (Directed by Varghese Lal), 20230
Love Deadline (Desdemona) , 1: Script of Love Deadline (Desdemona) , by Choi Ji Young0
Listening to First Quartos: The Women of The Merry Wives of Windsor and Henry V0
Love Deadline (Desdemona) , 2: Review of Choi Ji Young’s Love Deadline (Desdemona) (Directed by Choi Ji Young for the 2019 York International Shakespe0
William Shakeshafte, Player0
Unsphered, Disorbed, Decentred: Shakespeare’s Astronomical Imagination0
Shakespeare’s Hamlet : Philosophical Perspectives0
Constructing Inessential Shakespeare in the United States0
Into the Narrative Soil: Prose Translation, Modernity, and Global Shakespeare0
The Revolution’s Bloody Hands: Macbeth in Bolshevik Russia0
Roundtable: New Directions in Asian Shakespeare0
Falstaff’s ‘Play Extempore’: Illegal Inn Performances and Local Politics in 1 Henry IV0
Review of Shakespeare’s Romeo and Juliet (Choreographed by Christopher Gable and Massimo Moricone to Sergei Prokofiev’s Score for Northern Ballet) at the Sheffield Lyceu0
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